Half of the promo’s clips are flush with the viewer’s screen while the other half appear on a monitor within a shadowy set conjuring the psychosexual space of the imagined normative family audience. The premise and the announcer call for salacious content about which “the kids are bound to ask,” which cues the entrance of Sally Rogers, Rose Marie’s transgressively witty Dick Van Dyke Show character. Sal is clearly getting away with something. Like the network’s promos featuring inverted pink triangles and copious Cher footage, this ad and the heritage series celebrates trans gender queer TV history through camp signifiers: Rose Marie’s style, the otp of Dobie and Maynard, the opaque intimacies of the ambiguously human, and the polymorphous perversity of Don Adams’ perpetually floundering Maxwell Smart. TV is not merely a collection of programs within which characters appear as either straight or gay. Television presents its own strange representational system full of logics that defy dominant ideologies of identity and visibility.